Relevant bibliographies by topics / Bhangra (Music)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Bhangra (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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Journal articles on the topic "Bhangra (Music)"

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Gera Roy, Anjali. "Gendering Dance." Religions 11, no. 4 (April 18, 2020): 202. http://dx.doi.org/10.3390/rel11040202.

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Originating as a Punjabi male dance, bhangra, reinvented as a genre of music in the 1980s, reiterated religious, gender, and caste hierarchies at the discursive as well as the performative level. Although the strong feminine presence of trailblazing female DJs like Rani Kaur alias Radical Sista in bhangra parties in the 1990s challenged the gender division in Punjabi cultural production, it was the appearance of Taran Kaur Dhillon alias Hard Kaur on the bhangra rap scene nearly a decade and a half later that constituted the first serious questioning of male monopolist control over the production of Punjabi music. Although a number of talented female Punjabi musicians have made a mark on the bhangra and popular music sphere in the last decade or so, Punjabi sonic production continues to be dominated by male, Jat, Sikh singers and music producers. This paper will examine female bhangra producers’ invasion of the hegemonic male, Sikh, Jat space of bhangra music to argue that these female musicians interrogate bhangra’s generic sexism as well as the gendered segregation of Punjabi dance to appropriate dance as a means of female empowerment by focusing on the music videos of bhangra rapper Hard Kaur.
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Roy, Anjali Gera. "Black beats with a Punjabi twist." Popular Music 32, no. 2 (May 2013): 241–57. http://dx.doi.org/10.1017/s0261143013000111.

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AbstractThe bonding between black and brown immigrants in Britain has resulted in the emergence of a new musical genre called Bhangra, which hybridises Punjabi dhol rhythms with those of reggae, rap and hip hop. Bhangra's appropriation of Black sounds that are considered ‘Kool’ in the West has not only given Asian youth a new, distinctive voice in the form of ‘Asian dance music’ but has also led to the reinvention of Punjabi folk tradition in consonance with the lived realities of multicultural Britain. This essay examines various aspects of sonic hybridisation in ‘the diaspora space’ by British Asian music producers through tracing the history of Bhangra's ‘douglarisation’, beginning in the 1990s with Apache Indian's experiments with reggae. It covers all forms of mixings that came in between, including active collaborations, rappings, remixings, samplings and so on that made Punjabi and Jamaican patois dialogue in the global popular cultural space. The essay explores the possibilities of a ‘douglas poetics’ for Bhangra by juxtaposing the celebration of sonic douglarisation in postmodern narratives of migrancy and hybridity against the stigmatisation of biological douglarisation in miscegenation theories and ancient Indian pollution taboos.
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Khabra, Gurdeep. "Music in the margins? Popular music heritage and British Bhangra music." International Journal of Heritage Studies 20, no. 3 (January 16, 2013): 343–55. http://dx.doi.org/10.1080/13527258.2012.758652.

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Dudrah, Rajinder. "British Bhangra Music as Soundscapes of the Midlands." Midland History 36, no. 2 (September 2011): 278–91. http://dx.doi.org/10.1179/004772911x13074595849239.

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Banerji, Sabita. "Ghazals to Bhangra in Great Britain." Popular Music 7, no. 2 (May 1988): 207–13. http://dx.doi.org/10.1017/s0261143000002762.

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The cultural identity of the Indian subcontinent has survived countless onslaughts and displacements often by simply absorbing and Indianising alien elements. The many hybrids in lifestyle, language, food and religion spawned of Britain and India's long, love-hate relationship are a testament to this. And now the process is repeating itself in the new generation of South Asians born and educated in Britain. It is a unique generation, its acceptance or rejection of and by white British society will probably set the pattern for generations to come, and the musical fusion which voices their cultural duality tends towards mutual acceptance.
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Mooney, Nicola. "Aaja Nach Lai [Come Dance]." Ethnologies 30, no. 1 (September 19, 2008): 103–24. http://dx.doi.org/10.7202/018837ar.

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Abstract This article discusses the performance of Punjabi folk dances bhangra and giddha in some Canadian contexts. After introducing a notion of Punjabi identity, the article provides a brief description of these dance forms, their agrarian origins and their gendered natures, as well as of the types of events at which these dances are performed among Canadian Punjabis, and specifically, Jat Sikhs. I argue that not only do these dances express and maintain Punjabi identity in diasporic contexts, but that these identities refer to a Jat “rural imaginary” that is actively constructed through dance and music in response to the displacement of urban and transnational migration. This rural imaginary is usurped by bhangra’s increasing Westernization and popularity in the non-Jat South Asian diaspora, thus raising challenges to Jat centrality, meaning, and identity.
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Manuel, Peter. "Chutney and Indo-Trinidadian cultural identity." Popular Music 17, no. 1 (January 1998): 21–43. http://dx.doi.org/10.1017/s0261143000000477.

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Since the early 1980s Indian diasporic communities have attained sufficient size, affluence, self-awareness and generational distance from South Asia to have created a set of popular music styles that are autonomous and distinctive rather than strictly derivative of Indian models. While the bhangra music of British Punjabis has attracted some scholarly and journalistic attention, chutney, a syncretic Indo-Caribbean popular music and dance idiom, is little known outside its own milieu. This article constitutes a preliminary socio-musical study of chutney.
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Poole, Adrian. "South Asian music education in Essex: an ethnography of bhangra." British Journal of Music Education 21, no. 1 (March 2004): 7–24. http://dx.doi.org/10.1017/s0265051703005552.

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The general aim of this article is to explore South Asian music and culture in an educational context. The fieldwork on which it is based mainly consists of semi-structured interviews with pupils of South Asian origin (aged 11–18) who attend a secondary school in Ilford, Essex. The learning methods of South Asian musicians are considered and a detailed investigation of the socio-cultural environment in which these learning methods are related is undertaken, focusing on the role that music plays in the formation of concepts of culture, ‘identity’ and ‘place’. The majority of the musical material is drawn from the South Asian genre of bhangra, concentrating on the improvisations and rhythms of dhol players.
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Gopinath, Gayatri. "“Bombay, U.K., Yuba City”: Bhangra Music and the Engendering of Diaspora." Diaspora: A Journal of Transnational Studies 4, no. 3 (December 1995): 303–21. http://dx.doi.org/10.3138/diaspora.4.3.303.

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Gopinath, Gayatri. ""Bombay, U.K., Yuba City": Bhangra Music and the Engendering of Diaspora." Diaspora: A Journal of Transnational Studies 4, no. 3 (1995): 303–21. http://dx.doi.org/10.1353/dsp.1995.0011.

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Dissertations / Theses on the topic "Bhangra (Music)"

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Khabra, Gurdeep. "The heritage of British Bhangra : popular music heritage, cultural memory, and cultural identity." Thesis, University of Liverpool, 2014. http://livrepository.liverpool.ac.uk/2015320/.

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Authorised narratives of British popular music history have been deployed as representations of national identity by a range of institutions and individuals. The London 2012 Olympic Games opening ceremony, for example, presented a range of musical artists and songs that had been selected to represent aspects of British cultural identity to an international audience. The following year, a speech delivered by British Prime Minister David Cameron cited examples of British popular music in order to demonstrate British cultural successes in an international field. This thesis argues that authorised narratives such as these have failed to reflect the diversity of music cultures in the UK, drawing upon literature that highlights the concerns of ethnic minority groups who are frequently faced with exclusion from mainstream heritage narratives, and on a case study on British Bhangra music. British Bhangra is a musical genre closely associated with the BrAsian community, and in this thesis it is used to explore the relationship between popular music heritage and multiculturalism and address the following research questions: How have individuals involved with the British Bhangra music industry and audience groups responded to authorised narratives (Smith, 2006) of British popular music? How has British Bhangra been constructed as heritage – whether authorised, un-authorised or self-authorised – and where is this taking place and by whom? In order to address these questions, the thesis adopts two methodological approaches: qualitative research in the form of ethnographic fieldwork, and the analysis of particular musical works produced by British Bhangra artists and promoted as heritage – such as songs featuring in audience-constructed online charts attempting to define the ‘50 Best British Bhangra albums’. The ethnographic fieldwork was conducted in three areas in England: Bradford and Leeds in the North-East of England, Birmingham, and Tower Hamlets in East London, and enabled an exploration of British Bhangra heritage sites and practices in each location. Face-to-face and email interviews were also conducted with artists, music promoters and archivists involved with the British Bhangra music industry as well as with Bhangra audiences, and published interviews from print and online sources were consulted. This helped to examine British Bhangra heritage from the perspective of the artist, audience and music industry workers involved. At the same time specific British Bhangra songs were analysed in order to explore musical constructions of national identity and cultural memory and related concepts, such as ‘homeland’ or ‘authenticity’, both of which emerged as highly valued by British Bhangra audiences and artists. Attempts by artists and music journalists to construct a ‘canon’ of British Bhangra music frequently involve efforts to evaluate these musical works in terms of their perceived ability to express authenticity, or to evoke connections with a rural Punjab. The music is analysed in relation to such debates, and the way in which particular artists and songs have become enshrined within British Bhangra music heritage practices is explored.
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Dudrah, Rajinder Kumar. "British South Asian identities and the popular cultures of British bhangra music, bollywood films and Zee TV in Birmingham." Thesis, Online version, 2001. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.343431.

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Books on the topic "Bhangra (Music)"

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Claybourne, Anna. Bhangra and Bollywood. London: Wayland, 2011.

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Sahota, Hardeep Singh. Bhangra: Mystics, music and migration. Huddersfield: University of Huddersfield Press, 2014.

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Bhangra moves: From Ludhiana to London and beyond. Farnham: Ashgate, 2010.

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Is it all about hips?: Around the world with Bollywood dance. New Delhi: SAGE Publications, 2011.

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Dudrah, Rajinder Kumar. British South Asian identities and the popular cultures of British Bhangra music, Bollywood films and Zee Tv in Birmingham. Birmingham: University of Birmingham, 2001.

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Singh Sahota, Hardeep. Bhangra: mystics, music & migration. University of Huddersfield Press, 2014. http://dx.doi.org/10.5920/bhangra.2014.

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Bhangra and Asian Underground. Duke University Press Books, 2013.

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8

Roy, Anjali Gera. Bhangra Moves: From Ludhiana to London and Beyond. Taylor & Francis Group, 2016.

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9

Bakrania, Falu. Bhangra and Asian Underground: South Asian Music and the Politics of Belonging in Britain. Duke University Press, 2013.

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Bakrania, Falu. Bhangra and Asian Underground: South Asian Music and the Politics of Belonging in Britain. Duke University Press, 2013.

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Book chapters on the topic "Bhangra (Music)"

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Aujla-Sidhu, Gurvinder. "It’s Not Just Bhangra and Bollywood! Mediating Music Genres at the BBC Asian Network." In The BBC Asian Network, 173–95. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65764-2_8.

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"BHANGRA BEAT." In Music in the 20th Century (3 Vol Set), 67. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-46.

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Roy, Anjali Gera. "Filming the Bhangra Music Video." In Popular Music in India, 142–59. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199928835.003.0008.

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"»Urban Myth«: Bhangra and the Dhol Craze in the UK." In Music in Motion, 191–208. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839410745-011.

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Leante, Laura. "»Urban Myth«: Bhangra and the Dhol Craze in the UK." In Music in Motion, 191–208. transcript Verlag, 2009. http://dx.doi.org/10.1515/9783839410745-011.

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Bohlman, Philip V. "6. Diaspora." In World Music: A Very Short Introduction, 86–100. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198829140.003.0006.

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‘Diaspora’ explores the effect of human displacement on world music after the ‘discovery’ of the New World by Columbus in 1492, which set off a chain of diasporas. The music of diaspora addresses both place and homelessness, wandering and the dream of return. Three diasporas are investigated, beginning with the Sephardic diaspora, which arose in turn from the expulsion of Jews from Europe; the displacement of Africans resulting from colonial slave trade; and the South Asian diaspora, which draws upon music to represent the post-colonial world. Diasporic music is diverse, including reggae, klezmer, bhangra, Bollywood, and hip-hop among other genres.
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Frith, Simon, Matt Brennan, Martin Cloonan, and Emma Webster. "Moving to a different beat: jungle, bhangra, garage and grime." In The History of Live Music in Britain, Volume 3, 1985–2015, 145–68. Routledge, 2021. http://dx.doi.org/10.4324/9781315557168-10.

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"Bhangra Babes — ‘Masala’ Music and Questions of Identity and Integration in South Asian-British Women’s Writing." In Global Fragments, 73–88. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401204224_006.

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"Bhangra Babes — ‘Masala’ Music and Questions of Identity and Integration in South Asian-British Women’s Writing." In Global Fragments, 73–88. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401204224_007.

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